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Artykuły w czasopismach na temat "Liturgical music reform"
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Jakubczyk-Ślęczka, Sylwia. "Reforma żydowskiej muzyki liturgicznej w Galicji na przełomie XIX i XX wieku". Studia Judaica, nr 2 (44) (2019): 235–65. http://dx.doi.org/10.4467/24500100stj.19.011.12394.
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THE REFORM OF JEWISH LITURGICAL MUSIC IN GALICIA AT THE TURN OF THE NINETEENTH AND TWENTIETH CENTURIES The article presents the issue of the reform of Jewish liturgical music in Galicia at the turn of the nineteenth and twentieth centuries. Its main question concerns the essence of the reform, the novelty of which relied rather on the introduction of a modern way of performance of traditional music than replacing it with a new repertoire. The text discusses the role of new music performers such as cantors, choirs and organists in Galician Temples. It draws attention to the aesthetic changes of synagogue music and its ideological foundations. It also presents the attitude of progressive Galician Jews toward the repertoire of West European synagogues as well as to the music composed by local orthodox cantors, such as Baruch Schorr, Baruch Kinstler or Eliezer Goldberg. As the analysis of the historical material shows, their musical tastes and strong attachment to tradition tied them more closely to the Galician orthodoxy than to the German reform.
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Foley, Edward. "Book Review: Sacred Music and Liturgical Reform: Treasures and Transformations". Theological Studies 69, nr 4 (grudzień 2008): 948–50. http://dx.doi.org/10.1177/004056390806900428.
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Browne, Deirdre. "Book Review: Sacred Music and Liturgical Reform: Treasures and Transformations". Pacifica: Australasian Theological Studies 22, nr 3 (październik 2009): 356–58. http://dx.doi.org/10.1177/1030570x0902200313.
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Fidenko, Yulia L. "National Versions of Worship as a Basis for a New Mass to Come". Observatory of Culture, nr 6 (28.12.2014): 92–97. http://dx.doi.org/10.25281/2072-3156-2014-0-6-92-97.
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Deals with the regional aspects in the musical organisation of Mass related to the reforms of the Second Vatican Council. The author concretises the features of liturgical music reform and notes the specificity of its realisation in the practice of Catholic commons of the Asian part of Russia, from the Urals to the Far East. It is argued that a combination of musical material integrated in a holistic canonical invariant gives original features to worship in each parish.
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Kopeček, Pavel. "Post-Conciliar Liturgical Reform in the Czech Lands and Music of the Liturgy". AUC THEOLOGICA 8, nr 2 (8.03.2019): 29–49. http://dx.doi.org/10.14712/23363398.2018.49.
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Cones, Bryan. "The 78th General Convention of the Episcopal Church and the Liturgy: New Wine in Old Wineskins?" Anglican Theological Review 98, nr 4 (wrzesień 2016): 681–701. http://dx.doi.org/10.1177/000332861609800405.
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The 78th General Convention of the Episcopal Church generated a significant number of resolutions related to the church's liturgy, most of which passed both Houses, including resolutions authorizing preparation of the revision of the 1979 Book of Common Prayer and The Hymnal 1982. A review of the resolutions related to liturgy and music, however, raises fundamental questions about the kind of liturgical reform the church may undertake and how it may integrate growing appreciation for linguistic and cultural diversity in the church, including the insights of feminist, postcolonial, and LGBTQ theological reflection and those produced by theologians of color. This essay argues that serious engagement with these questions suggests a completely reimagined liturgical “center of gravity” that integrates the insights of liturgical scholarship and practice since the authorization of the 1979 Book of Common Prayer and The Hymnal 1982, while providing the flexibility to respond to the church's current diverse contexts.
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Milsom, John. "English–texted chant before Merbecke". Plainsong and Medieval Music 1, nr 1 (kwiecień 1992): 77–92. http://dx.doi.org/10.1017/s0961137100000267.
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The first Book of Common Prayer, published in 1549, contains no music. This is not to say that many of the liturgical texts it contains were not intended to be sung or intoned, as they had been for centuries before the Reformation. That singing as well as speaking was permissible is made clear by the rubrics,1 but notation was not supplied, an omission that can only have perplexed English priests and choirs at a time of radical and inadequately prescribed liturgical reform. As E. H. Fellowes commented in 1941, ‘very little attention has been drawn to the problems that must have confronted precentors, organists, choirmasters and composers, when the Latin liturgy was replaced by the Book of Common Prayer issued in the vernacular tongue’.2 To that list he might have added celebrants; and however great these problems may have appeared at choral foundations which maintained close contact with the principal reformers, they must have seemed almost insuperable to the priests at remote parish churches throughout the country.
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Swarbrick, John. "Martin Luther: music and mission". Holiness 3, nr 2 (16.06.2020): 235–56. http://dx.doi.org/10.2478/holiness-2017-0008.
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AbstractThis article seeks to demonstrate Martin Luther's often-overlooked credentials as a musician. Luther was convinced that music was the viva voce evangelii (living voice of the gospel), and unlike other more radical Reformation movements, he encouraged the use of choral and congregational singing in worship. Some of his familiar hymns – Nun freut euch, Ein’ feste Burg and Aus tiefer Not – offer insights into his ambitions to embed congregational singing into his vision of reformed worship, which went hand in hand with liturgical reform. Luther's Formula Missae and the vernacular Deutsche Messe lay the groundwork for Lutheran worship, which restructured the service around the centrality of the gospel proclamation. Luther's musical tradition reached its zenith in the work of J. S. Bach, which continues to echo in the Western musical canon, leaving Luther with a lasting musical legacy.
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Hage, Jan, i Marcel Barnard. "Muziek als missie: Over Willem Mudde en zijn betekenis voor de kerkmuziek". NTT Journal for Theology and the Study of Religion 66, nr 4 (18.11.2012): 283–98. http://dx.doi.org/10.5117/ntt2012.66.283.hage.
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Under the influence of Calvinism, the musical situation in the Protestant churches in the Netherlands was for a long time marked by sobriety, with attention focused on congregational singing. In the 20th century, church music gained importance through a dominant flow of Lutheran influence. Generally, the liturgical movement highlighted the role of music in worship. The Lutheran church musician Willem Mudde successfully called attention to the German church music reform movement. Inspired by the writings of the German theologian Oskar Söhngen, he strived to apply the ideals and practices of this German movement to the Dutch Protestant churches. He succeeded through his zeal and organisational skills, not only in the Lutheran church but also in other Protestant churches. The idealistic character and educational aims of the movement, however, could not offset the growing individualism and the ongoing crisis in the churches.
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REULAND, JAMIE. "Cantus figuratusand monastic re-figuration in the late medieval Veneto". Plainsong and Medieval Music 28, nr 1 (kwiecień 2019): 43–75. http://dx.doi.org/10.1017/s0961137118000220.
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AbstractIn 1409 Ludovico Barbo arrived at the monastery of Santa Giustina in Padua, intent on its reformation. Since the late fourteenth century, the scriptorium at Santa Giustina had produced some of the most significant collections of polyphonic music to survive from the period, specialising in copying the avant-garde repertories of the Ars nova. Yet the reforms Barbo sought to introduce – reforms based on ideals he and a cohort of Venetians had been living out on the island of S. Giorgio in Alga – eschewed outward ostentation, and centred on prayerful engagement with the scene of Christ's Passion. Barbo's initiatives would seem at odds with the tradition of secular polyphony cultivated at the monastery in the years before his arrival. Official documents from the reform prohibit the practice of cantus figuratus and paint a picture of a uniformly spare music aesthetic.Manuscript and material evidence from Santa Giustina and dependent houses tells a different story, and suggests that communities found use for the monastery's musical past within the reformed practice of prayer and meditation. Vestiges of this past appear in the most unlikely of places: the Good Friday rituals that Barbo himself worked to strip of polyphonic accoutrement. The efforts of individual monks, musicians and scribes – here Rolando da Casale, whose musical expertise Barbo enlisted in the copying of new liturgical manuscripts, and Johannes Preottonus – emerge as telling examples of the ways in which institutional histories come under the pressure of their individual actors.
Rozprawy doktorskie na temat "Liturgical music reform"
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Calitz, Coenraad Josepheus. "'n Prakties teologiese ondersoek na die vrye lied as 'n wesenlike deel van die Gereformeerde kerklied in die Nederduitse Gereformeerde Kerk". Pretoria : [S.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-03092006-095219/.
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Byrne, John Henry, i res cand@acu edu au. "Sacred or Profane: The Influence of Vatican Legislation on Music in the Catholic Archdiocese of Melbourne, 1843 - 1938". Australian Catholic University. School of Music, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp09042006.88.
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Despite the authoritative and very explicit directions from the Vatican in 1903, the Catholic Archdiocese of Melbourne successfully resisted the demands for a major reform of liturgical Church music for 35 years. This thesis will examine the reasons for this strong and effective resistance to the demands of the Holy See and show that despite being complex and interrelated these reasons can be summarised under two fundamental headings. The thesis will examine the broad spectrum of music performed in the Melbourne Archdiocese, but because of the limited availability of information and the prime importance of the two principal churches of the Archdiocese, it shall concentrate on St. Patrick’s Cathedral and on St. Francis Church. The thesis shall also examine in detail the documents of the Holy See concerning liturgical music which were relevant to musical practice in Melbourne. Special attention is drawn to the influential Motu proprio Tra le sollecitudini (1903) issued by Pope Pius X. The time span of this thesis covers the 95 years from March 1843 when the first music was sung in Melbourne’s only Catholic church to 1938 when Archbishop Daniel Mannix ordered the reforms to liturgical music as demanded by the Vatican. The thesis shall demonstrate that the resistance to the reform of liturgical music in the Catholic Archdiocese of Melbourne was due to the two following influences: the fact that the new freedom and wealth that the immigrant Irish community of the Archdiocese of Melbourne experienced enabled them to establish churches and liturgies whose grandeur and artistic excellence symbolized their success in establishing a major new social and cultural status in their new home. Church music was one of the great manifestations of this and as an integral part of their new significance and sense of achievement, it was to be jealously guarded. the second was the matter of authority and the independence of the Catholic bishops from the dictates and interference of the Vatican authorities. These Irish-born bishops were trained in an historical milieu in Ireland and Europe which fostered a fierce pride in the value of autonomy from external and alien authority. In this they were given a great degree of protection by the isolation of Australia and its distance from outside authority. In this Archbishops Carr and Mannix both proved to be strongly independent leaders who proved to be most reluctant to automatically implement reforms imposed by the Vatican. It will be shown that only in the fourth decade of the twentieth century was Episcopal authority finally brought to bear to make reforms to liturgical music a reality in the Catholic Church in Melbourne.
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Campbell, Colin Archibald 1970. "Music ministry in the missional worship service of the Dutch Reformed Church in South Africa / Colin Archibald Campbell". Thesis, North-West University, 2013. http://hdl.handle.net/10394/8998.
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This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain.
In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa.
The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God.
The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain.
Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy.
The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry.
The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship.Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.
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Mofokeng, Mokete. "The Belhar Confession and liturgy : a hymnological study". Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63034.
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Much study regarding the Belhar Confession has been conducted already such as: The
Belhar Confession in its historical context Plaatjies-van Huffel (2014), Chronicle of
Conference Barman/ Belhar Consultation 18 and 19 October 2004 Hansen (2005), A
gift from heaven-the receptions in the Belhar Confession in the period 1982-2000 and
its ecumenical significance today Naudè (2003) and On violence, the Belhar Confession
and human dignity Koopman (2008) to mention but a few. From preliminary
observations and some initial research, it seems that there is still a need to do an indepth
study on the liturgical function of the Belhar Confession in Music. The working
hypothesis of this study is if the Uniting Reformed Church in Southern Africa URCSA
uses Belhar more in the liturgy, especially in singing it will have an impact on the
congregations and members. In other words the working hypothesis is that there is a
link between liturgy, here specifically hymn singing, and the formation of worshippers. If
URCSA is expecting others to adopt this confession it is its responsibility to embrace it
during worship in church and to the rest of the society outside church vicinities. The
literature survey that will be carried out later in this study confirms this state of affairs
and that there is thus indeed a huge research gap in this regard. The researcher did a
literature study, conducted semi-structured group interviews, as well as the some
empirical research in order to explore the basic research question.Dissertation (MA Theol)--University of Pretoria, 2017.
Practical Theology
MA Theol
Unrestricted
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Smit, Erasmus Johannes. "Die bydrae van die gereformeerde kerklied tot versoening en eenheid in 'n multikulturele Suid-Afrika / Erasmus Johannes Smit". Thesis, North-West University, 2007. http://hdl.handle.net/10394/1310.
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Calitz, Coenie (Coenraad Josepheus). "The free song (hymn) as a means of expression of the spirituality of the local congregation with specific focus on the situation of the Dutch Reformed Church in South-Africa". Thesis, 2011. http://hdl.handle.net/2263/28490.
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The presence of at least two prominent streams of church music within the DRC is evident – this is also true of most other Protestant and Reformed churches. There is tension between the ‘old music’ and the ‘new music’; traditional church music and contemporary church music; the official repertoire of church music and the utilized repertoire of songs. Liturgical singing often includes various free songs (songs outside the official hymnal). Songs from various traditions are cut and pasted or copied and merged into liturgy through a process of bricolage. Within bricolage liturgy there is a growing tendency towards bricolage liturgical singing. A brief overview of the history of church music illustrates the complexities regarding church music. The official song of the temple was often complimented by the ecstatic song of individuals. The more formal and official song of the church often stood in contrast to the song and music that were played and sung in houses and elsewhere. Christian believers in different eras expressed themselves in different forms and genres of music. The Bible does not support a blueprint for church music. There is no Biblical church music, mainly because no ‘melodies’ could be preserved (cf. Mowinckel 2004:9). The latter is further complicated by the culture-bound nature of Biblical music and songs. The Biblical data mostly provides snapshots of instances where God’s people utilized music and singing in their interaction with the Almighty and covenantal God. Certain principles and guidelines for church music could be drawn from these, although the danger of fundamentalism, relativism and subjectivism remains. A study of liturgy illustrates the important role of music and singing within the dialogue of the liturgy. Recent studies emphasize that church music could function as a ritual symbol within a specific cultural or sub-cultural community. As such church music is closely related to the culture (or sub-culture) of a given community and can never be evaluated apart from that culture. Within a postmodern culture, church music will be greatly influenced and coloured by the values and attitudes of postmodernism. The latter have major implications for musical styles, genres, repertoires and the sanctification of church music. Within postmodernism the borders between sacred and secular are not so clear, neither between sacred (liturgical) music and secular music. Within Western culture and postmodernism there is a growing need for an inculturated and an inter-culturated song, expressing the smaller narrative(s) of the local congregation in idioms, language, metaphors and styles true to the local culture. Church music is closely related to the spirituality of the local congregation. The dominant type of spirituality will necessarily have a sound influence on the musical genres, accompaniments, styles and repertoire of the local congregation. The growing phenomenon of popular spirituality has definite implications for church music. At least three circles of spiritualities must find expression in the song of the local congregation, namely an ecumenical spirituality, a denominational spirituality and a congregational spirituality. Where the official song (Liedboek van die Kerk) gives expression to the denominational or Reformed spirituality as well as the meta-narrative, the free song often gives expression to the congregational spirituality as well as the smaller narrative. It is argued that the freely chosen song is an important means of expressing the spirituality of the local congregation (culture). In this sense, it does not threaten the official church song but compliments it. These two could stand in a positive and creative tension. Regarding liturgical singing, the DRC is presently moving from a societas through a phase of communitas to a new societas. It is impossible to predict the outcome of this process. As Burger (1995:31) indicates, a communitas-phase releases a lot of new energy that could be of great value to the church. Church music, as folk music and cultural music, will have to be faithful to the culture and spirituality of God’s people living in the twenty first century within a given context. The age-old tradition must continue hand in hand with a new song. Vos (2009:5) summarizes accurately: “However, each generation of believers must interpret the ancient sources and traditions of the Church anew, within the demands of their time, without being unfaithful to the traditions in which a definitive liturgy exists”.Thesis (PhD)--University of Pretoria, 2011.
Practical Theology
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Michl, Jakub. "Hudební kultura v konventu alžbětinek na Novém Městě Pražském". Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390377.
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Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...
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Fourie, Francois Paul. "'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde Kerk". Thesis, 2000. http://hdl.handle.net/10500/18047.
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Text in AfrikaansDie lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu.
The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal
Theology
D.Th. (Theology)
Książki na temat "Liturgical music reform"
1
Dobszay, Laszlo. The Bugnini-liturgy and the reform of the reform. Front Royal, VA: [Catholic Church Music Associates?], 2003.
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Mieczkowski, Janusz. Krakowski Instytut Liturgiczny. Kraków: Wydawn. Naukowe Papieskiej Akademii Teologicznej, 2005.
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Mieczkowski, Janusz. Krakowski Instytut Liturgiczny. Krakow: Wydawnictwo Naukowe Papieskiej Akademii Teologicznej w Krakowie, 2005.
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Sanctis, Michael Edward De. Some artistic aspects of Catholic liturgial reform: A comparative study of the influence of Vatican Council II on the music and architecture of the liturgy [microform]. Ann Arbor, MI: University Microfilms International, 1986.
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The language of the Psalms in worship: American revisions of Watts' Psalter. Lanham, Md: Scarecrow Press, 1997.
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Ruff, Anthony. Sacred Music and Liturgical Reform: Treasures and Transformation. Liturgy Training Publications, 2007.
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Licon, Peggy Ann. Twentieth-century liturgical reform in the Catholic Church and a sample of current choral literature (1989). 1990.
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University, Ohio, red. Some artistic aspects of Catholic liturgical reform: A comparative study of the influence of Vatican Council II on music and architecture for the liturgy. 1986.
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Nardini, Luisa. In the Quest of Gallican Remnants in Gregorian Manuscripts. Redaktor Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.11.
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This chapter examines Gallican components in liturgical chants copied in Gregorian manuscripts by focusing on a group of chants for the masses for the Holy Cross. These chants, copied in manuscripts from Aquitaine, bear signs of more remote pre-Gregorian roots that can be recognized in some textual and musical features, in aspects related to their liturgical collocation, and in the theological arguments they contain. Before undertaking an analysis of specific examples, the chapter first considers the extent to which royal decrees influenced chant practices in Carolingian and post-Carolingian Europe by contextualizing the process of standardization of chant within the projects of cultural reform of the Carolingians and the Merovingians. It then discusses issues of persistence and change in the transmission of liturgical repertories as well as the role of music censorship in the practice of liturgical chant.
Części książek na temat "Liturgical music reform"
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"Anglo-Norman Liturgical Reform". W Music in Welsh Culture Before 1650, 187–98. Routledge, 2017. http://dx.doi.org/10.4324/9781315090825-13.
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Goldberg, Geoffrey. "Jewish Liturgical Music in the Wake of Nineteenth-Century Reform". W Sacred Sound and Social Change, 59–83. University of Notre Dame Press, 1994. http://dx.doi.org/10.2307/j.ctvpg852z.6.
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Cohen, Judah M. "Transplanting the Heart Back East". W Rethinking European Jewish History, 221–44. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781904113560.003.0012.
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This chapter ponders the cultural significance of performances of American Jewish music and musical artists in contemporary European Jewish communities. It explains how performances of liturgical and secular music expressing a European Jewish heritage could nourish the ongoing 'liberal Jewish renaissance' in Germany, such as the appearances of the Reform cantor Rebecca Garfein in Berlin in the late 1990s. It also mentions the 'Klezmaniacs' in Poland and Ukraine in 2000 that awoke enthusiasm among Jewish youth and resentment among their non-Jewish neighbours. The chapter demonstrates how performers were both ambassadors and pilgrims of American Jewish culture. It discusses the twentieth-century American Jewry that used sound to build bridges and facilitated a transnational Jewish exchange.
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McCarthy, Kerry. "The Wanley and Lumley Partbooks". W Tallis, 137–46. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0012.
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At this point in Tallis’s story, musicians have begun singing in English for radically simplified church services. The Wanley and Lumley partbooks are two of the oldest musical documents of the English Reformation. They contain some of Tallis’s earliest works in the new reformed style. This chapter traces the changes in English music during the 1540s and looks at the origins of Tallis’s English anthems and services. At this point, he was in a position of great authority in the royal household chapel (itself the arbiter of liturgical taste for the rest of the nation) and under considerable pressure to write successful works in a new style. He thrived under this pressure, as we can see in a perfect miniature such as the anthem If ye love me.